Stephanie Daley

In late 17th Century France, a young, insecure woman resorts to desperate ways to be reunited with her lover, who's become a nun at a convent. Based on the chronicles of Julie d'Aubigny.

Seven Women, Seven Sins (1986) represents a quintessential moment in film history. The women filmmakers invited to direct for the seven sins were amongst the world's most renown: Helke Sander (Gluttony), Bette Gordon (Greed), Maxi Cohen (Anger), Chantal Akerman (Sloth), Valie Export (Lust), Laurence Gavron (Envy), and Ulrike Ottinger (Pride). Each filmmaker had the liberty of choosing a sin to interpret as they wished. The final film reflected this diversity, including traditional narrative fiction, experimental video, a musical, a radical documentary, and was delivered in multiple formats from 16, super 16, video and 35mm.

Anaïs is twelve and bears the weight of the world on her shoulders. She watches her older sister, Elena, whom she both loves and hates. Elena is fifteen and devilishly beautiful. Neither more futile, nor more stupid than her younger sister, she cannot understand that she is merely an object of desire. And, as such, she can only be taken. Or had. Indeed, this is the subject: a girl's loss of virginity. And, that summer, it opens a door to tragedy.

A New York radio personality travels to the small town of Fernville to oversee a contest to identify retired safecracker Jimmy Valentine, believed to be living there under an assumed name. The close-knit town of upstanding citizens is understandably upset by this venture, all the moreso when some of its citizens begin to be murdered. The radio personality and the local newspaper's young daughter collaborate on solving the murders while revealing Valentine, who has become one of the suspects.

A story about Hannah (Anna Åström), a young woman who is very shy on the outside, but whose inner world is deep, exciting and vibrant. One day, Hannah notices a house that looks as if it is cut out from a hip home decorating magazine. Intrigued, she decides to break in and try to find out who owns this emotionless beautiful home equipped with high-end technology. While at first Hannah enjoys the luxury, she starts to notice on each visit that Max (Stipe Erceg), the owner of the house, is excessively obsessed with his physical possessions. He has spent a lot of time to make sure that everything external meets the society’s standards that he has forgotten himself. The things that he himself likes, the activities that make him smile, and the people who make him happy. Having realised that, Hannah starts leaving hints for Max, so as to shake him out of the the everyday emptiness and make him focus on what is important.